In plus for yesterday's presentation of merel about happening. We had a discussion about what is the formulation of happening art and when did it started. I think this is one of the first happenings that already started in the 20's.
Picabia (a temporal member of the dadaist movement) came up with this 'theatrical ballet performance' together with Erik Satie who provided the music, what represents for me the first happening. Merel read this text and tell me what you think about this, regarding to happening. i think it also has to do a lot with the future of sculpture at that time, but that's another discussion. Merel tell me what you think of this and share the discussion with us.
The info here.
He Martien,
BeantwoordenVerwijderenYes I think you're right; you could say that this kind of dada performances is a beginning of interactive art. It's maybe not that interactive, but the audience is of importance to the art.
With a real happening maybe you could say that the audience is the key factor in where the perfomers leads. So I think of much more influence. (then forget about the John Cage example) Also with a 'real' happening there is not a real script but only some guidelines. What I really like about participating audience is that the audience is supporting the performance instead of being critical from a distance.
Martien thanks, great to read about Satie's work, he's one of my faves.
great text!
BeantwoordenVerwijdereni would like to mention something while we talk about the history of performance and audience participation... the strict division of roles and their prospective deliniations: author, performer, audience in performing arts see in theater was always in development. shakespearean stage, italian theaters where the audience was cheering or boooing the actors actively some remnants of this survived in theater for kids and also in puppet theaters! or look at classical music where the performer was in many instances supposed to improvise parts (while for those parts there might have been written stuff provided by the composer… cadenza or my favorites are some studio recordings of pablo casals who was the master supreme of 20th century cello where you hear him humming all through the piece. now, that was an absolute no-go area, a breach of the codes! but i guess you can not tell the greatest master of the instrument not to do it not even in classical music.
thanks for the schlingensief movie i watched it was very interesting sometimes really great i did not like the titles and heavy intro had the feeling of the frame getting more important than the picture so to say...
I think this is important, what you said about "audience is supporting the performance instead of being critical from a distance" this also refers to what zsolt is saying about the deliniations, this is getting vague. Great music by the way, i never heard of this man. I like the classical music solo performances a lot.
BeantwoordenVerwijderen"division of roles" "prospective deliniations: author, performer, audience"
BeantwoordenVerwijderen"According to Hans Richter, Picabia had intended that the sound of the audience would contribute as background noise to the film (making the piece an early progenitor of John Cage's 4'33''), "but they all fell silent, as though the sight of his extraordinary cortège had taken their breath away. Picabia, enraged, shouted at the audence "Talk, can't you, talk!" Nobody did."
So according to me Hans Richter says Picabia was trying to redefine the role of the audience from passive to contributory.
What i meant with "this is getting vague" is that the role of audience, performer and author is getting vague or fading into eachother. I know, bad written, but thanx for clearing it up.
BeantwoordenVerwijderenno it is not "bad written" it is fading... respect!
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